Blog 2/12/15 - RESENSITISING /COUNTER ETCHING STONES


Found a new stone to work on ! Previously I found that resensitising the stone initially (especially if I was using masking tapes) gave better results.

To do this:
Wash stone with water
Take a mix of 1:9 acetic acid : water solution and dilute this further with 1:3 parts water
Flush solution over wet stone (should fizz!)
Repeat twice
Rinse off - care being taken not to touch stone
Dry stone

This technique is primarily used for stones which have already been drawn on and that you want to add new work to. It works better with a fresher stone and you often need to use greasier crayons to work with subsequently (eg if you have used a no 4 crayon you will need to use a No. 2) or a turpsy tusche rather than a watery one. 

3/12/15 - Worked on new stone- found a good way to create straight lines was to use litho ink and a fine pen nib (as long as there was minimal ink loaded on the nib!). Some marks (to represent distressed tiling created by drawing soft litho crayon on to flocked wall paper and pressing directly on stone. Tried a watery tusche in the foreground - tried drawing over this with a No. 4 litho crayon (Serena said this might come out really dark though) - also gently scratched a little of the watery tusche back.Really dense blacks created by NAM diluted minimally with turps (too much liquid and it had a tendancy to bleed).

10-12 - 15 - worked on new stone  - more dark black (diluted NAM ink) added at the top of image 
More detail placed on tiles in foreground -using a nib and litho ink shading on dark areas of wall to create shadow with a litho crayon.

Serena mentioned that it would be good to se a watery etch used on the watery washes in the foreground- She also suggested that instead of using our usual gum arabic solution we made our own as it is less acidic as it doesnt contain the preservatives that shop bought solutions do. We will do this and the water etching next week.

Heres where I am up to with the stone at the moment

16-12-2015 - MAKING FRESH GUM ARABIC SOLUTION 

Finished drawing on stone (although I intend to add to it by scratching in fine black lines after the second etch) and left to rest for the remainder of day. Gently poured a fresh solution of Gum arabic over the drawing and lightly brushed over the solution to cover the stone thinly. Excess was removed with gentle dabbing and the surface buffed and dried.

The fresh gum arabic solution was made as follows:

1. Pour approx 300ml water into a wide necked jar

2. Add a few drops of Jeyes solution (phenol (aka -carbolic acid)- has antisceptic properties and preserves the solution)

3. Place a fist full of gum arabic crystals inside an old pop sock and suspend the sock from a wooden barbecue skewer which is placed over the rim of the jar suspending the Gum Arabic crystals in the weak phenol solution.Leave 24 hours

 (This photo wasnt taken when we made the solution but after we'd used half of it! - so the crystals should be suspended in the water - but you get the idea!)

17-12-2015 - ETCH FOR WATERY TUSCHES

As the watery tusches are very delicate and fragile they would be damaged with our usual gum arabic ethches so a very weak acid solution was made to etch these areas.

Water Etch - (98 % water :2% nitric acid solution) -Used for delicate watery washes and mixed drawings 

1. Wet stone with water
2. Flush over weak acid solution for maximum of 30 seconds -(stone should sparkle slightly)
3. Wash with water
4. Dry stone with hair dryer (dont over do)
5. Gently cover with plain (fresh if possible) gum arabic - taking care as drawing really fragile.
6. Dry with hair dryer
7. Leave to rest

9/11/15 - SETTING UP EXHIBITION AT LCB

Nina and I set up our exhibition 'Molotovs to Modernism' at the LCB depot documenting the first 6 months of our Fellowship. Its a lovely light space and just the right size for two!
Here are some snaps of the work in situ

The gallery from the outside

My work including a couple of paintings which relate to the lithographs I have been working on

Nina's lively lithographs

The exhibition runs until 23/12/15



11/11/15

First day printing in our fabulous new premises at LPW!

Loads of light and space.
Printed 8 of the Park Hill large stone on Fabriano white and 2 on Japanese paper.

                  Heres our new litho press kindly donated by a lovely lady from Wirksworth.

                        And heres out trusty old litho press brought from St Stephens road.

The newly acquired press isnt up and running yet so I printed on our old one.  8  prints of the Park Hill large stone taken on Fabriano white and 2 on Japanese paper.

18/11/15

Using the old press - printed an edition of 6 of the small Park Hill stone on Fabriano Rosepina Cream and a further 6 on white using crayon black and NAM inks. The stone was darkening up a bit so I treated it with a solution of Atzol at the end.


Worked a little on new small stone (Park Hill 3) -Used masking tapes, NAM dissolved in turps to get the intense blacks, rubbing blocks and a tusche dissolved in water.

In the evening we had an excellent Workers Unite session. A social event (not a trades union meeting which was what I originally presumed!) whereby members of LPW get together with plenty of wine and crisps to discuss their arts practice and what they have been up to. We also had a visit from Ruth Sumner, Senior Lecturer in Fine Art at DMU who kindly gave us a one to one crit of our work which I found particlarly useful.

Blog 16/9/15 and 17/9/15 -VISITING LCB EXHIBITION SPACE

Met with Katharine, Serena and Nina - we have decided to hold an exhibition of our lithography work so far charting our progress - opening November 11th - December 23rd at the LCB depot in Leicester. So that's exciting ! Slightly worried re the lack of work that I've got to display compared to my fellow fellow Nina but  I'm sure it will be fine! We visited the exhibition space on the way back to the station - its superb - not too big and really light.


                                                                     Gallery space at LCB

Blog 22/9/15 and 23/9/2015

After seeing the space Nina started to work on a stone to make a poster to advertise the event

The stone was left to rest overnight and the next day we printed it up

I also prepared 2  photo litho plates for my park hill stone as a means of adding colour to the prints- sky, concrete balustrades and windows were traced from one of the prints that I had already taken onto 2 large sheets of draughting paper using black marker pen and acrylic paint. In the dark room the draughting paper was attached to 2 separate photolithography plates using scotch tape - they were then transferred to the photoexposure machine and exposed for 12 units. The exposed plates were then taken back to the dark room,  the draughting sheets were removed and the plates dampened with developing solution for 3 minutes until the image started to appear. The plates were then washed with water and dried . Gum Arabic solution was then placed thinly on each plate and then dried with a hair dryer. Each plate was then protected with a layer of tissue paper so that they wouldn't get scratched.
Here are the plates - unfortunately there wasnt enough time to print from them so thats for another time (in about 6 weeks!) as Leicester Print Workshop is moving premises and will be until November 4th. 

Photo litho plates produced  (which can be inked as a monoprint to add colour tints to existing prints - top one will add colour the concrete balustrade areas, the bottom one will add colour in areas of the windows and sky (images reversed but will be the right way round when printed)

26th August 2015

MORE CHINE COLLE ADDITIONS USING MARBLED AND AEROSOL SPRAY PAINTED PAPER

I carried on cutting out more marbled paper shapes and pulled more prints. I used a combination of 50% crayon black : 50% noir a monter with a dash of crimson red and the nap roller .
The stone was becoming quite dark in places so I selectively pumiced and etched the really dark areas with atzol solution and then applied French chalk and gum arabic

When I compared the prints that were printed with noir a monter ink alone with that of the combination of inks (crayon black and noir a monter) the noir a monter alone produced a softer lighter print - the combo was really good for dense velvety blacks - Discussed this with Serena -a possibility for the next stone might be to use an image that takes advantage of both soft and dense hues of each of the inks and use 2 stones to print on to gain the advantages of both.

When I got home I aerosol spray painted some blank sheets of paper in various colours (buff pink/ sand/ terracotta) with the idea of using these as chine colle instead of the marbled paper.
These were also printed as before.


27th August 2015/ 2nd September 2015 - MAKING GUM ARABIC TRANSFER PAPER
 
Serena also showed us how to make gum Arabic paper to use for transferring textures and drawings to stones .A sheet of cartridge paper was gently blotted with a damp sponge and placed on a board. Watercolour adhesive strip tape was cut to seal the paper to the board. Once the paper had dried a diluted solution of gum Arabic was brushed evenly on to the paper - care being taken not to incorporate brush marks or stray bristles from the brush. This was left to dry and another thin coat applied.

                    
                      Gummed cartridge paper stretched and covered with gum arabic solution to make transfer paper

We were interested in adding texture to the transfer paper so the paper was divided into four and different additives dissolved into the gum arabic to give texture.
A teaspoon of pumice powder was added to one batch of the gum Arabic solution, a teaspoon of carborundum grit was added to another and a teaspoon of whiting to another. These 3 solutions were each painted onto a quarter of the prepared paper. One quarter of the board was left with just plain gum arabic solution on it.

Blog 3/9
Carried on taking more prints with chine colle  but this time tried a different paper (heritage white) - nice paper -Used more crayon black in the combined ink mix which gave a really dense black print which I liked - also noticed a few extraneous blobs appearing on the prints - Serena reckoned these were due to bits of leather off the handles of the nap roller being incorporated on the stone and printing - need to watch that ...

Next time -? Mono print using paper prepared a few weeks ago or photolitho plate?

20/8/15 -CHINE COLLE WITH MARBLED PAPER

Whilst on holiday in Cornwall I came across some beautiful hand marbled pink and grey paper in a second hand book shop. I thought this woud be interesting to use as chine colle as the colours reminded me of the brick work of Park Hill. (Chine colle is a printmaking technique whereby paper of a different colour or texture is adhered to the overall piece. It usually involves sticking precut shapes of paper to the heavier support paper in the printing process.)  I cut squares of the marbled paper to fit the bricked up areas of the print using carbon paper on one of my earlier prints to trace the shapes accurately.

The stone was inked - (using just Noir a monter ink and the squares of cut marbled paper were placed image side down on the stone and pritt stick glue placed on the non image side of the marbled paper-(see below)

A dampened sheet of watercolour paper was carefully placed on top of the glued cut shapes and then the stone run was through the litho press - Heres the print! (I also added some blue and gold marbled paper on the left hand side of the print)

 It seemed to worked quite well and I thought I would try this again next week but using a different ink combination As the noir a monter alone didnt give the lovely velvety black that I got when I added crayon black ink to the mix,

Serena also showed me another way of adding colour to the prints. A large piece of cartridge paper was coated thinly with water based varnish on both sides - care being taken not to incorporate brush strokes. Small squares were then cut up as in the chine colle cut outs above and then inked and then placed ink side up on paper to accept the print.

I didn't have time to try this method out but will have a go another time!

Blog 19-8- 15 - MONOPRINTING WITH HAND CUT STENCILS 

Using the stencil that I made last week(see below) I rolled a pale pink /buff coloured etching ink (containing lots of translucent white) onto a thin sheet of aluminium. The stencil was placed over one of my prints and the inked aluminium sheet placed on top of the stencil and then the whole lot was run through the etching press.

Heres one of the prints produced showing colour in the central brickwork and also the stencil showing the excess ink on top.

After 4 prints the stencil was getting a bit ropey! 


I also printed a few more proofs from the stone but this time just used noir a monter rather than the crayon black : noir a monter combo.The prints though were not as good using noir a monter on its own - the dark areas did not print as velvety black as they had done when crayon black was also included into the ink mix.

Blog 8-7-15 - ADDITIONS AND DELETIONS

I carried on working on my Park Hill stone - gum arabic was placed on the stone and then I scratched further lines in (using a steel etching needle) to give  more definition. Mistakes were corrected by applying more gum Arabic. Once this was completed a turpsy rag with Noir a Monter ink was rubbed into grooves - the stone was warmed with hair dryer and french chalk dusted lightly over the image. A thin layer of gum arabic was placed over the stone and when this was dabbed gently with a sponge it picked up the surplus ink leaving the image beneath. The gum arabic was then dried with a hair dryer and the stone left to rest overnight
The first large landscape stone that I did and the Small stone 1 were washed out with turps to remove the ink and then oil patch cleaner placed for 30 mins. This was then removed and washed off and graining started!

9/7/15
Some of the lines that I scratched into yesterday and covered with ink wernt very obvious so needed re scratching!
The drawing was washed out and a very thin layer of noir a monter ink was rolled on to see wha tlines had been achieved. The stone was covered with french chalk and gum arabic and dried.

Noir a monter ink on a turpsy rag was rubbed into the new lines made and a damp cloth rubbed over to remove excess ink. The stone was then rolled over again with noir a monter using the nap roller - this also picked up excess ink. The stone was  warmed with hair dryer for 10 mins and french chalk and gum arabic placed.
(Before whenI  rubbed ink into the lines the excess ink was removed with GA this time because the stone had already been inked we used water to repel.)
A second etch was then placed using an all over wash of 30% Atzol and then medim strength acid was brushed into the splattered areas in the top right hand corner of the print. The stone was left to rest until next week.

             

                                    Stone with inked in scratched areas (railings of stairs in tall central block)


Blog 15/7/15 - PROOFING PARK HILL STONE

Multilpe proofs were taken off the Park Hill stone initially using a combination of inks ( 60% Noir a monter : 40% Crayon Black ink and a little poppy red etching ink to warm up the black hue) - 5 proofs were taken on newsprint - using a Nap roller as recommended by Serena - (I was a little disconcerted initially as Serena has always said we must NEVER use anything but pure NAM on the nap roller !!) (A thin layer of NAM though was rolled on roller first to protect the roller before rolling up the mix )
Things didnt go well initially ! -The ink was a bit thin, the scraper bar a bit short and the pressure too tight!- Serena suggested moving to the other press and use a larger scraper bar and modify ink ! More Crayon black was added (so it was more like a 50:50 mix) these modifications seemed to work - printed 15 prints - 2 on Fabriano 2 on Lambeth 4 on kitchen paper 7 on newsprint
Care needed not to dampen paper too much! - paper was too wet on several proofs and buckled under pressure.


Here's one of the prints produced!

as it was the end of the day -GA placed - The drawing washed outwashed outand a thin layer of NAM placed (after cleaning the roller to remove CB combo). French chalk was dusted on the stone and then a diluted 50% soutionl of atzol placed to etch darker areas of the image a bit more.

16/7/15 
Using sharpened pumice stick - (a bit like a hard pastel crayon) selected areas of the stone were  pumiced to remove blobs and mistakes! Strong etch placed - areas that wanted to lighten were also pumiced gently keeping the stone wet. The stone was re gummed and dried.

Next I Re grained the first large landscape stone and the small park hill 2 stone.

I am keen to add some colour to the prints so a stencil was made to monoprint colour on top next time

 n

17/6/15

New large stone that I had started to grain last week was finished off.

Small stone 2 - The edges were prepared and treated with strong acid to clean them up.
The stone was inked up using Crayon Black and Noir A Monter ink with a small soft roller.
12 proofs were taken - some of the areas were becoming very dark so these were re etched with medium acid to lighten them.

                               Print from Small Stone 2 using NAM / Crayon Black ink


18-6-15 

Cleaned up edges of small stone 2 using strong nitric acid

Inked up small stone 2 in blue etching ink (no additive) using a soft roller -Was furring up in places (largely due to an inadvertent finger print !) started scratching defects away when Serena said that it would be better to re etch the stone first.So washed out stone (Keeping stone really wet before I used turpss o that diluted ink wouldn't go into scratch marks I had already made). Then dampening stone a thin layer of NAM ink was rolled on using a small roller instead of the nap as the nap would ruin/ mark the edges of the stone. French chalk was dusted on and then etched again the whole surface of stone with a dilute solution of  Atzol (75% Atzol :25% gum.)  Areas which were going too dark were selectively etched with strong nitric acid and the gum dried . The stone was left to rest until next week

Started to draw on large stone that grained yesterday . 
I had a rough sketch of the image of Park Hill Flats that I wanted to use on newsprint - I rubbed red oxide on to the back of the drawing and using a pen transferred it go the stone . I Started sticking micro masking tapes down as before.
Asked serena the best way to create fine lines - she got me a sharpened hard litho crayon but also suggested trying fine nibs and ink or fine nibs and inky soap solution or alternately scratching and rubbing ink in after second etching /first proofs are taken .

19/6/15
On the train home yesterday I realised that I had omitted to wash large new stone with acetic acid prior to sticking tapes down and on the test stone that I did  previuosly - washing it with a vinegar solution gave a much better result !!. Consequently I decided to remove tapes I had placed and regrain the stone (I always learn the hard way ! ) one hour later I was back where I started with a clean stone. I transferred my image using red oxide and started to stick the tapes down. I wore gloves as I am notoriously messy and my previous stones had a surplus of finger marks! However glove wearing and cutting and placing micro masking tapes was a bit of a challenge !

24 /6 /15 - carried on sticking tapes down and used rubbing block to mimic concrete -Noir a monter diluted slightly with brush for extra black areas - to carry on next week

                                                    
                                                     Park Hill Flats stone with tapes stuck down, 
                                             dark areas NAM diluted with turps, rubbing block to left





1/7/15 - Continued working on drawing - deep blacks created by using NAM thinned with turps, tonal areas created using rubbing block and Charbonnel inks.

2/7/15

Carried on working on stone trying to protect drawing using newsprint as much as possible so as not to transfer material. Used turpsy wash splattered on a toothbrush to achieve the top left corner, black areas were made using diluted NAM with brush.
I left areas that needed straight lines adding until next time to do before second etch. Covered drawing with chalk then did first etch painting on Atzol using large brush - excess dabbed off gently with a sponge so as not to disturb the drawing and then with dry cloth. Dark areas, like the splattered area and also in the eaves were treated with med strength acid - (bubbles after 5-6 seconds). The really black areas were NOT treated with acid. Areas that needed protection from the acid were brushed with gum Arabic first - The acid was then dabbed off and  the stone dried .

                       
                                     Park Hill Flats drawing on stone after first etching


Next week prior to the second etching I will work into the drawing a bit more .

10/6/15

Grained transfer stone 2 to remove existing image.
Diluted acetic acid was washed on small stone 2 as before to thouroghly de-grease it prior to drawing.

Started to work on small stone 2 adding tapes (directly this time not using gum arabic paper) and drawing and adding turpsy washes and marks from rubbing block to give different tonal values.

                                              Snmall stone 2 with tapes and tusches



 11/6/06

Carried on with small stone 2 adding more turps tusches, rubbing block and litho crayons. Scatched in to define marks
Tapes removed and where tusche had bled excess scraped away with Stanley knife

                                               Small stone 2 with tapes removed

Stone left to rest for an hour or so (not as long as with previous stones as largely dry materials used to make drawing)
French chalked and atzol placed
Strong  nitric acid applied to edges to clean them up!
Medium strength acid applied to darker washier areas to open them up. Gum arabic placed on top and stone dried. Left to rest until next week when will wash out NAM, second etch and file edges

Found new stone to grain! However image been present for some time so may be a challenge to clean!
Washed GA away - then turps to remove ink - then washed and dried.
Old image was removed with oil patch cleaner (kept moving with brush every 10 minutes)

The stone was then scrubbed with Vim and washed.
Citric acid solution was used to remove rest of the drawing -moving the solution around with gloved fingers then scrubbing. The stone was then washed and dried  and then grained using coarse grit for 45 mins / medium grit for 20 mjnutes.
Tested if all drawing had gone by LIGHTLY rubbing a turpsy oily rag over surface of WET stone (don't allow to dry - as stone will absorb stain and leave a mark - I learnt the hard way!) - 
This was washed off thouroughly - (if necessary use vim) The image was still there so next week to grain for another 30 mins using medium grit then 30 mins with the fine.

 27/5 /15 

Second Transfer Stone

Removed the tape I'd placed on the 2nd transfer stone (except in a couple of places as a test to see what marks are produced by either removing the tape straight away whilst the stone is dry or after dampening the stone.)
Much easier to remove tapes when they are dry ! When wet they became tacky- some of gum left on stone so etch and thus mark produced will be patchy. Stone dried and dusted with French chalk (FC) then etched stone using diluted 50% atzol.
Stone left to rest overnight prior to second etch

                                                          2nd Transfer Stone

Grained 1st transfer stone that I had initially done to remove image - took 2 hours ! 
I found  2 small stones that had been used to grain the bigger stones that I thought would be interesting to work directly on (to work on a different scale). The edges were filed as best as possible to see if it was possible to print from them.

                               Small graining stones filed and grained to see if could be used
                                                                     to print from

28-5-15 

Small Stone 1 
For my next project I wanted to know best way of creating a grid like structure on stone that remained light. Serena suggested using gum Arabic brown tape (like the stuff you use for sticking down watercolour paper when you are stretching it). Using my trusty micromasking tapes that I use all the time in my painting I stuck these down on the non sticky side of the gum Arabic tape - then using a scalpel cut thin strips of the gum Arabic tape. 
Where possible I tried to remove the micromasking tape from the gum Arabic tape after cutting the strips  as I found the strips stuck better when it was absent.

I then stuck these down on to one of my small 'rescued' stones - creating a grid like pattern. This was really going to be just used as a test stone to see what marks and tones could be achieved. Once they were all stuck down (it was a bit faffy and they didn't always go where I first intended!) I then tried different dry materials to create blacks.
On the right hand side I rolled Noir A Monter ink (NAM) with a nap roller. This gave interesting marks but left spaces around the tape edges where the roller didnt reach.
On the bottom left I got a bit of sticky NAM ink and added a few drops of turps and rubbed it on with a finger - this gave a dense black and was easy to get into the corners of the tapes. Top left I used a rubbing block - I then added litho crayon around some of the edges of the tape which had gaps -and also painted a wash in some areas of pure turps and NAM ink to give different tonal values.

                                           Small stone 1 with gum arabic tapes and different tusches


I then dusted the stone down with French Chalk and put on first etch using atzol solution (30% nitric acid :70% GA) diluted 1:1 atzol : GA solution) and left to rest (both stone and me until next week!)

Blog 3/6/15

Small Stone 1
Tapes removed  as best as could whilst stone was dry but it was easier to get off when wet so dampened with sponge. Once all removed - an inky turpsy rag was run into all crevices.

                                                      
                                                Small stone 1 with tapes removed

Dried stone - then a thin layer of NAM ink rolled on.
Stone rotated 90 degrees at intervals to ensure even rolling of ink - some areas took a while to build up the ink
Dried stone - then second etched using  atzol.The edges of the stone were filed and sandpapered .
I scratches a few lines in for detail to sharpen the image and produce areas of shade  - strong acid was placed in areas that I wanted to lighten. Medium strength acid was brushed on with broad brush in dark areas to pick up detail. The stone was French Chalked and gum arabic (GA) placed and the stone  left to rest.

Transfer stone 2

Washed out and printed 9 proofs - on various papers - newsprint, kitchen and Lambeth paper. Edges really poor so ink accumulating around edge of stone - hot in studio!. - stone seemed to dry out quickly. Excess ink accumulating in areas where I didn't want it like before !
Serena later said this was because the whole stone needed an Atzol wash in order to clean things up.
Some interesting marks produced - I liked the effects of oil pastel on concrete wall. A more defined clear line was produced when the tapes were pulled off dry rather than when they were wetted prior to removing. Although this wasn't always predictable !

                                                          Print from Transfer stone 2



Blog 4/6/15 

In morning Nina (the other litho fellow) and myself visited De Montford University archives to look at work of Birgit Skiold - printmaker (1923- 82) we looked at examples of her work  spanning across 3 decades. Birgit was a Swedish printmaker who settled in London and was a founder member of the British Printmaking Council and really getting printmaking to be regarded as fine art. She worked with many techniques including lithography, blind embossing and etching - often combining techniques. Her early lithographs were particularly fresh with excellent colour combinations and a variety of mark making. It was interesting to see what colours could be produced using different coloured inks and opacities producing a wide palette from a limited number if plates. She worked largely on zinc for her lithographs rather than stone.

Birgit Skiold Lithograph

                                                     Nina and myself in archives of DMU

In the afternoon we returned to the print studio and I continued to work on my small test stone by taking proof prints.
Initially I took about 8 prints using etching ink with no additives and a small roller - unfortunately this didn't bring up the fine detail in the centre of the stone so Serena suggested increasing the pressure and adding a few drops of plate oil to make the ink softer. This improved things a little but not that much! She then suggested I switch to non drying ink (NAM) on a nap roller and use damp paper. This improved things a lot but the nap roller made it difficult to keep the edges clean and also I found that the ink was accumulating too much in areas that had previously been printing well!!

                       

                                    Print from small stone 1 using non drying ink (NAM) and nap roller

Serena suggested applying strong acid to the edges and an acid wash to the really dark areas to open them up a bit. The stone was then left to rest until next week.

                                                                Small stone 1 re-etched

Looking at the prints produced - I was keen to produce a pale grid like structure - this was achieved best when the masking tape was stuck to the GA paper and then the marks either side scored with a scalpel and then treated carefully with strong acid. The velvety black areas were best achieved by using NAM diluted with turps and painted with a brush.

I had a second small stone that I prepared last week and Serena suggested it might be better to degrease this thoroughly before drawing on it.
This was done by diluting a standard solution of acetic acid (1:9 dilution) further by a 1:3 dilution with water. This was then poured over the stone and the stone washed to remove all the acid. This was then repeated and the stone dried with a hair dryer . Serena still felt it didn't look chalky enough so suggested I repeat this again next week.